Gongbi painting and freehand painting are the two most important forms of Chinese painting. By analyzing specific works, tell us what are the differences in their expression methods?

Gongbi is the use of neat, meticulous and meticulous techniques to depict objects. Gongbi is divided into two categories: Gongbi white drawing and Gongbi heavy color. Gongbi white drawing is to depict objects entirely with ink lines without any color. Line drawing was originally used to make drafts. Song Dynasty painter Li Gonglin developed it into an independent type of painting. His line drawings are like flowing clouds and flowing water, infinitely varied and highly expressive. In the "Five Horses" he painted, both humans and horses are outlined with single lines, with accurate proportions, clear musculoskeletal structures, and even the luster of the horse's coat color. The dynamics are extremely vivid, and it is the first-class painting in ancient times. Line drawing works. Meticulous brushwork and heavy colors refer to Chinese paintings that are neat and detailed and lay out heavy colors. In the early days of Chinese painting, meticulous brushwork and heavy color played an important role. The silk paintings found in the Mawangdui Han Tomb in Changsha, Hunan are all authentic meticulous and heavy-color paintings, especially the T-shaped "Fei Yi" in the tomb of Concubine Biao. The composition is ingenious, the line drawing is fine, and the colors are gorgeous, showing that the fine brushwork and heavy colors reached a high level at that time. Achievement. Ancient paintings generally used heavy-color pigments such as cinnabar and green, so the painting was called "Danqing". This shows the important position of fine brushwork and heavy-color pigments in ancient paintings.

Freehand painting is a painting method that is opposite to meticulous painting. It requires the use of extensive and concise pen and ink to draw the shape and spirit of the object to express the author's artistic conception. It is said that during the Tang Dynasty, Emperor Xuanzong ordered painters Li Sixun and Wu Daozi to paint the landscape of the Jialing River in Datong Hall. Li Sixun is good at meticulous brushwork and heavy colors. It took him several months to complete this mural. Wu Daozi painted more than 30,000 miles of Jialing landscape in one day. It is conceivable that he could not use the technique of meticulous brushwork and heavy color to paint, and it must be relatively extensive and concise. This shows that the paintings at that time already had the distinction between fine brushwork and freehand brushwork. In the Song Dynasty, Su Shi proposed "scholar painting", advocating that paintings should "not seek resemblance in appearance", but should express emotions and feelings to express the author's subjective thoughts and feelings. The only painting he left behind was "Dead Tree Picture", which depicts a dead tree and a stubborn stone, with one or two branches of bamboo exposed behind the stone and a few thin grasses under the tree. This painting expresses his politically dissatisfied thoughts and feelings, but the great calligrapher gave it a very high evaluation, saying that the branches are "unexpectedly twisted" and the stones are "weird and strange, just like the depression in his chest". After the Yuan Dynasty, freehand paintings with concise brushwork, vivid shapes, hearty and interesting styles flourished.

In this way, freehand painting and gongbi painting, which abides by tradition and rules, have formed two schools with completely different styles. They have long competed with each other in the painting world and been passed down from generation to generation.

Chinese painting emphasizes that "there is an image in the environment, there is an environment outside the image, and the environment is born from the image." Both fine brushwork and freehand brushwork focus on the aesthetic thought of both form and spirit.

Gongbi emphasizes resemblance in form, while freehand brushwork emphasizes resemblance in spirit! ~